5 Questions for Thilo Krapp

17 December 2021

Thilo Krapp speaks with
us about his path to becoming a comic artist, the research and the next
literary classic that he will adapt. His portfolio includes the
award-winning graphic novel adaptation of HG Wells' "The War of the Worlds",
Illustrations for “The Three Investigators” or educational crime novels such as “The Kiss of Death”
He is also particularly well-known for his adventure comic “Damian &
Alexander”, which is about the experiences of the lovers of the same name.
His designs for a possible sequel are part of the exhibition
“UNPUBLISHED – The comic scene unpacks! Strips and Stories – by Wilhelm
Busch to Flix” and give us clues as to how the history of the two
could continue.

Illustration
Thilo Krapp © Jens Feierabend

Nathalie
Schraven: How and why did you become a comic artist?

Thilo Krapp: It was me
actually always, the medium just had to find me. I think
that was around the age of 5-6 years ago when I had a
I read the comic from cover to cover for the first time and was completely
I can even still remember what kind of man he was and what he
was printed: It must have been one of the series in “Fix & Foxi”.

NaS:
Which artists or authors have particularly influenced you?

TK: One of my
My earliest and most lasting influences were from the author Raoul Cauvin
who worked with the illustrator Arthur Berckmans – “Berck” for short - who created the series “Sammy”, among many other things
other that he wrote. Both the story of Cauvin and the congenial
Drawings by Berckman have impressed me deeply. Then of course there are the
great Franco-Belgian series such as “Asterix” and “Lucky Luke”, which
accompanied permanently (as well as for some time the Dutch series
“Franka” by Henk Kuijpers). But of course I also had my
“Moebius” phase, my Bastien Vivès phase, and admire many old and new
Illustrators such as Thomas Campi or Oriol Hernandez. The list is
endless.

Fig. Thilo Krapp, Damian and Alexander, 2008 © Thilo Krapp

NaS:
They are currently working on a real classic: “20.000 Miles Under
the Sea" by Jules Verne. Can you tell us something about it?

TK: Of course!
“20.000 Leagues Under the Sea” has fascinated me ever since I read the book
Advent present as a child. It was an edition in which you could really immerse yourself in
the story and the pictures. This experience wanted
I repeat it for myself in the comic! And so I asked myself what I could do as
What I wanted to do next after adapting “War of the Worlds” (initially
by Egmont, now published by Carlsen Verlag in a new colour edition
It was clear: If I read another classic from the same genre
If I implement it, it has to be “20.000 Leagues Under the Sea” because for me it is the
next great classic of science fiction literature.

For an illustrator
It is a treat to tackle this material. Of course, I have read many
Thought about how to design the “Nautilus”, Captain Nemo’s submarine
and found my own new approach, which is one of the bigger
challenges in adapting this book. In addition, I have
A lot of emphasis was placed on the interaction of the characters with each other, because Verne’s book is
A veritable book about friendship: how do you bear being separated from a
Being kidnapped by terrorists like Nemo, a different attitude to it
and not to let the friendship break up because of it? Because exactly in
In this situation are Arronax, Conseil and the harpooner Ned Land, who
Nemo on this underwater world tour. I also have some ecological
Aspects of the material that are already evident in Verne - I emphasize it, however
stronger here and there.

Fig. Thilo Krapp, Damian and Alexander, 2008 © Thilo Krapp

NaS: In the works “The Lights of
Paris: Émilie at the World Exhibition” and “Émile in Berlin: Mouse Hunt in
Department Store” you show a great attention to detail for cityscapes and
nostalgic architecture. How do you go about your research?

TK: I love
Research, so I do not shy away from the effort, and it goes into
different directions. On the one hand, there may be image searches on the Internet,
which, with a topic such as the World Exhibition in Paris in 1900, also yielded many hits
But then you have these wonderful templates for the great
attractions at the exhibition -
and must first
correctly before you know whether you can use them in the story you are
want to think up, can use and how. It is a real historical
Topic, and every fact must be verifiable. So you also read
There are still many books, articles and old (or new) essays on the subject (in which
the images then sometimes appear again and often in better quality, as well as
with information). In the case of “Émile in Berlin”, which is also actually
existing department store Wertheim in Berlin in 1904, I had the
great, great luck, a doctoral thesis on the buildings of the Wertheim Group
which was also well illustrated and, above all, also contained information
which room in the department store existed when, where and in what condition.
These department stores were constantly being rebuilt - my story
but takes place in December 1904, at a fixed time and place.
This book helped me a lot, especially since it also gave descriptions of the colors that the
Objects and materials in the department store had - with predominantly black and white photos, the
from this period, very valuable information for a color
illustrated children's book.

Even with “20.000 miles
Under the Sea” I did a lot of research, for example on steel and
Iron architecture of the 19th century, as well as Art Nouveau interiors, as I
this flowing style, oriented towards water and natural forms, for the
interior design of the “Nautilus” was a nice idea.

NaS: What would you advise someone who
want to become a comic artist today?

TC:
That
he relies on what interests him in this profession. It is a
very demanding job, and in my opinion it is important that you
relies on his feeling about what kind of stories and in what style they
fascinate you so that you can manage to create the works you are working on
drawing. For doubts about your own preference, this profession
I simply don’t have time, I think. Of course, you should allow yourself to
and look left and excursions into other genres – or better:
Story worlds – try it out. But drawing comics is different
than with “normal” illustration (which should also be cultivated):
Whatever you have decided to draw, you first come to a
for a while, simply because there is so much to draw. It
It simply takes time. Therefore, it depends on whether you really want to
want to draw what you have planned or whether it is at least within the
own taste and moves in the world that one loves. Sometimes
you have to ask yourself this again and again.

And also: network! And the
Look for colleagues you like and whose advice is important to you.